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自1917年杜尚将他的作品“泉”搬上纽约独立艺术大展上展出之时,它便开始了现代主义对古典美学的最后颠覆,同时也开启了现代主义艺术的被许多人称为“另类”的大门。美国当代最杰出的艺术史家和艺术批评家之一列奥·斯坦伯格在他的代表作《另类准则:直面二十世纪艺术》中对现代艺术突破传统的“另类准则”给予了详细充分的论证。文章选取此书中毕加索和罗丹的“另类准则”——“变形”进行对比分析,试图一窥其中所蕴含的独特艺术手法及美学原则。
When Duchamp introduced his work “Spring” to the New York Independent Art Exhibition in 1917, it began the ultimate subversion of classical aesthetics by modernism and opened up many of the most influential topics in modernist art. People called “alternative” door. Leo Steinberger, one of the most prominent contemporary art historians and art critics in the United States, gave a full and detailed account of his “alternative guideline” to the break-through of modern art in his masterpiece Alternate Principles: Facing the Art of the Twentieth Century Argument The article chooses Picasso and Rodin’s “Alternative Criteria ” - “Transmutation ” in this book for comparative analysis, attempting to get a glimpse of the unique artistic practices and aesthetic principles contained therein.